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Martin Kevorkian, Chair CAL 226, Mailcode B5000, Austin, TX 78712 • 512-471-4991

Fall 2007

E 314L • Women's Popular Genres

Unique Days Time Location Instructor
34960 TTh
8:00 AM-9:30 AM
mez 1.210
LEE, M

Course Description

"I need you, the reader, to imagine us for we won't really exist if you won't. Against the tyranny of time and politics, imagine us the way we sometimes didn't dare to imagine ourselves: in our most private and secret moments in the most extraordinarily ordinary instances of life, listening to music, falling in love, walking down the shady streets, or reading Lolita in Tehran. " - Reading Lolita in Tehran

In this course, we will investigate what makes a women's popular genre. In doing so, we will address the more well-known genres like the novel and poetry, but will primarily focus on some of the more underrepresented popular genres, including autobiography, women's travel narratives, drama, and chicklit. We will discuss texts that speak to each other across time periods, comparing and contrasting voice, theme, style, and overall approach to genre. We will examine the ways in which these genres can be seen as women's popular genres: specifically how these genres construct, challenge, and/or comment on women's identities in literary history, as well as society.

E 314L is a substantial writing component course designed to introduce students to women's literature and to the English major, although the course is not restricted to those pursuing a degree in English. This course is designed to expose you to a variety of texts and critical methodologies and to enhance your critical reading and writing skills.

Grading Policy

3 papers (5-7 pages) 85%
Oral presentation 5%
In-class writing 5%
Participation/Attendance 5%

Texts

I Capture the Castle, Smith
The Short Life and Mysterious Death of Amy Zoe Mason, Atkinson
Without Reservations: The Travels of an Independent Woman, Steinbach
Reading Lolita in Tehran, Nafisi
Top Girls, Churchill
George Eliot - auto/biographical & canonical material
Play(s) by Joanna Baillie and/or Michael Field

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